LOAN  EXHIBITION  OF 
ORIENTAL  RUGS  FROM 
THE  COLLECTION  OF 
JAMES  F.  BALLARD 


MCMXXI 


LOAN  EXHIBITION  OF 
ORIENTAL  RUGS  FROM 
THE  COLLECTION  OF 
JAMES  F.  BALLARD 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/loanexhibitionof00metr_1 


THE  METROPOLITAN  MUSEUM  OF  ART 


LOAN  EXHIBITION  OF 
ORIENTAL  RUGS  FROM 
THE  COLLECTION  OF 
JAMES  F.  BALLARD  OF 
ST.  LOUIS,  MO. 


NEW  YORK 

OCTOBER  8 TO  DECEMBER  31 
MCMXXI 


Copyright  by 

The  Metropolitan  Museum  of  Art 

October,  1921 


Erratum 


Page  xiv.  For  “Seven  Mountain  rugs,”  etc.,  read 
The  “Bergamas”  are  sometimes  called  Siebenbiirger 
Teppiche,  because  many  have  been  found  in  Siebenbiir- 
gen  (Transylvania). 


INTRODUCTION 


In  1910-11,  when  the  Metropolitan  Museum  held 
the  loan  exhibition  of  oriental  rugs  which  first  brought 
to  public  notice  the  astonishing  wealth  of  many  of  our 
private  collections  in  this  class  of  material,  the  Museum 
itself  owned  only  six  oriental  carpets  of  first-rate  im- 
portance. Since  then,  however,  our  permanent  collec- 
tion has  been  greatly  increased  through  the  Altman  and 
the  Fletcher  Bequests  and  the  gift  of  the  J.  Pierpont 
Morgan  Collection.  Furthermore,  the  Museum  has 
been  privileged,  since  1910— ii,  to  exhibit  as  an  in- 
definite loan  from  C.  F.  Williams  the  well-known 
treasures  of  the  Joseph  Lees  Williams  Memorial  Col- 
lection of  Oriental  Rugs.  And  now,  through  the 
courtesy  and  public  spirit  of  another  great  rug  collec- 
tor, James  F.  Ballard  of  St.  Louis,  Missouri,  the  Mu- 
seum is  exhibiting  as  a loan  for  three  months,  in  the 
Gallery  of  Special  Exhibitions,  sixty-nine  oriental  car- 
pets of  unusual  interest  and  importance  selected  from 
Mr.  Ballard’s  remarkable  collection  of  over  three  hun- 
dred rugs. 

Anyone  who  has  ever  had  the  pleasure  of  seeing  this 
collection  in  Mr.  Ballard’s  private  gallery  in  St.  Louis 
will  know  how  difficult  was  the  task  of  restricting  our 
selection  to  the  comparatively  small  number  of  rugs 
which  the  size  of  our  gallery  permitted.  The  present 


V 


INTRODUCTION 


exhibition  has  not  been  planned  to  give  equal  promi- 
nence to  all  varieties  of  oriental  carpets,  since  it  seemed 
best,  in  view  of  the  strength  of  the  Ballard  Collection 
in  rugs  of  Asia  Minor  origin  of  the  sixteenth  and  sev- 
enteenth centuries,  to  place  our  emphasis  upon  this  class 
of  carpets.  Nevertheless,  several  fine  Persian  carpets 
and  a few  Indian  and  Spanish  examples  have  been  in- 
cluded in  the  exhibition  for  comparison  as  well  as  for 
their  own  interest. 

On  one  of  the  long  walls  of  the  gallery  hang  two 
of  the  so-called  Armenian  “dragon  carpets”  together 
with  numerous  examples  of  western  Asia  Minor  rugs 
from  the  Oushak,^  Ladik,  Bergamo,^  and  other  looms. 
Here  are  rugs  of  gold  and  scarlet  in  arabesque  patterns ; 
carpets  with  great  star  motives;  rugs  with  stylized 
flower-and-leaf  forms  or  with  geometric  ornament  in 
bold  designs  and  glowing  colors.  The  exhibition  of 
Asia  Minor  rugs  is  continued  on  the  end  walls,  with 
the  exception  of  the  space  occupied  by  a large  Spanish 
carpet  on  the  west  wall ; on  this  wall  is  a notable  group 
of  Ghiordes^  prayer  rugs,  and  on  the  opposite  wall  a 
similar  group  of  Koulah^  rugs  of  equal  distinction. 
Among  the  most  beautiful  pieces  in  the  collection  are 
the  three  large  carpets  of  the  so-called  “Damascus” 
type,  which  are  shown  on  the  floor  of  the  exhibition 
room.  On  the  fourth  wall  are  other  “Damascus”  rugs, 
a few  “Bergamas,”  and  a group  of  Persian  carpets  of 
exceptional  quality. 

1 Or  Ushak. 

2 Or  Bergama,  Pergamo. 

2 Or  Ghiordez,  Gurdez,  Guerdi,  Gierdi,  Yourdez,  Yurdi, 
Yordi. 

^ Or  Kulah,  Coula. 


Vl 


INTRODUCTION 


In  the  brief  space  of  this  Introduction,  it  is  ob- 
viously impossible  to  dwell  at  any  length  upon  the  ori- 
gin of  carpet  weaving;  it  must  suffice  to  say  that  the 
industry  is  unquestionably  one  of  great  antiquity.  The 
earliest  carpets  were  probably  of  the  tapestry  (khilim)^ 
variety;  but  in  the  historical  period  the  knotted-pile 
carpet  predominates.  Both  kinds  are  made  on  the 
loom.  In  the  case  of  tapestry  carpets,  weft  threads  of 
varied  colors  to  form  the  design  are  woven  in  and  out, 
over  and  under,  the  warp  threads  stretched  on  the 
loom;  as  the  work  proceeds,  the  weft  threads  are 
pressed  down  to  give  a compact  texture  (see  Nos.  42, 
49  for  examples  of  khilims).  In  making  the  knotted- 
pile  carpet,  the  warp  threads  are  strung,  and  on  these, 
rows  of  knots,  each  requiring  two  warp  threads  for  a 
single  knot,  are  tied  by  hand  and  the  ends  cut  off  to 
produce  an  even  pile  surface.  The  knots  are  held  in 
position  by  weft  threads,  concealed  beneath  the  pile. 
Upon  the  number  of  knots  and  the  closeness  of  the 
warp  threads  depends  the  fineness  of  texture.  As  many 
as  790  knots  to  a square  inch  have  been  counted  in  an 
extremely  fine  specimen; 2 the  coarser  modern  produc- 
tions average  about  15-60  knots  to  the  square  inch. 
Wool  is  the  principal  material  for  knotting;  silk  occa- 
sionally is  used;  and  gold  and  silver  threads  are  some- 
times woven  (not  knotted)  in  the  fabric  to  give  greater 
richness  of  effect.  The  warp  threads  may  be  of  cot- 
ton, wool,  or  silk.  The  colors  of  the  old  rugs  are  few 
in  number  and  limited  in  shades.  Red,  blue,  green, 
yellow,  black,  and  white,  and  occasionally  violet  are 

1 Killim,  Kilim,  Gilim,  Ghileem. 

2 I.e.,  a fragment  of  an  Indian  carpet  in  the  Altman  Col- 
lection. 

vii 


INIRODUCTION 


the  principal  colors.  The  old  dyes,  although  happily 
far  from  “standardized,”  have  a beauty  and  a per- 
manency which  the  aniline  colors  in  common  use  to- 
day cannot  rival. 

The  dating  of  early  rugs  is  a matter  of  much  uncer- 
tainty; but  a small  number  of  rugs  may  surely  be  as- 
signed to  the  fifteenth  century,  and  for  a few  excep- 
tional pieces,  dates  even  as  early  as  the  thirteenth  and 
fourteenth  centuries  are  claimed.  It  is  not  until  the 
sixteenth  century  that  we  find  the  certain  evidence  of  a 
date  wrought  into  the  carpet  itself;  our  reference  is  to 
the  famous  Ardabil  carpet,  which  bears  the  date  946 
of  the  Hegira  (a.d.  1540).  Many  rugs  have  come 
down  to  us  from  the  sixteenth  century,  the  Golden 
Age  of  the  industry,  but  naturally  they  are  not  by  any 
means  so  numerous  as  the  later  fabrics  of  the  seven- 
teenth and  eighteenth  centuries  and  of  modern  times. 

In  general,  oriental  carpets  may  be  classified  as  Per- 
sian, Turkish,  Caucasian,  Central  Asian,  Indian,  and 
Chinese.  Since  the  rugs  in  the  present  exhibition,  with 
few  exceptions,  are  either,  Persian  or  Turkish,  we  shall 
consider  only  these  two  divisions  in  the  following  notes, 
aside  from  a few  general  references  to  Indian  rugs  and 
to  oriental  influence  in  Spanish  carpet  weaving. 

The  oft-quoted  description  of  the  sumptuous  garden 
carpet  of  Chosroes  I (a.d.  531-579)  gives  a vivid  idea 
of  the  skill  which  the  rug  weavers  of  Sassanian  Persia 
had  attained  in  the  sixth  century  of  our  era.  Between 
this  and  the  date  of  the  earliest  existing  Persian  rugs, 
we  must  believe  that  the  art  was  continuously  prac- 
tised, but  the  nature  of  its  development  is  largely  con- 
jectural. No  doubt  traditional  patterns  were  con- 

viii 


INTROD  UCTION 


tinued — the  garden  carpets  which  were  woven  as  late 
as  the  eighteenth  century  are  probably  reminiscent  of 
Chosroes’  famous  carpet — but  the  Mongol  invasions  of 
Persia  in  the  thirteenth  and  fourteenth  centuries  and 
later  relations  with  the  Far  East  introduced  new  mo- 
tives such  as  the  dragon  and  phoenix  and  the  Chinese 
cloud  band,  which  long  continued  popular. 

Characteristic  in  general  of  Persian  rugs  are  the 
graceful,  flowing  lines  of  the  design;  the  well-ordered 
composition ; the  mellow,  rich-hued  harmony  of  the 
color;  the  popularity  of  floral  motives;  the  frequent 
introduction  of  animal,  and  even  human,  forms;  and 
the  technical  perfection  of  the  manufacture. 

An  early  type  of  Persian  carpet,  of  which  the  more 
primitive  examples  may  be  assigned  to  the  second  half 
of  the  fifteenth  century,  shows  a central  medallion  or 
star  with  or  without  pendent  cartouches,  quarter-sec- 
tions sometimes  occurring  in  the  corners  of  the  field. 
Two  splendid  examples  (Nos.  56,  62)  of  these  medal- 
lion carpets  are  included  in  the  exhibition. 

The  medallion  scheme  often  occurs  in  the  “animal” 
and  “hunting  carpets,”  which  are  counted  among  the 
most  beautiful  productions  of  the  Persian  looms.  They 
were  made  presumably  in  northern  Persia;  perhaps,  as 
it  has  been  suggested,  the  looms  of  Tabriz  in  north- 
western Persia  had  the  principal  share  in  their  produc- 
tion. Animals  are  found  in  the  designs  of  fifteenth- 
century  rugs,  but  it  was  during  the  reign  of  Shah  Tah- 
masp  I (1524-1576)  that  this  type  of  rug  enjoyed  its 
greatest  popularity.  After  the  close  of  the  century, 
animal  rugs  are  rare.  There  are  no  “animal  carpets” 
in  the  exhibition,  but  several  superb  examples  may  be 


IX 


INIRODUCTION 

seen  elsewhere  in  the  Museum.  The  exhibition  does 
include,  however,  a beautiful  Persian  rug  (No.  59), 
which  has  a border  design  of  broad  arabesques  and 
oval  medallions  similar  to  those  on  some  of  the  “animal 
rugs”;  but  the  field  with  its  palmettes  and  scrolling 
stems  recalls  the  type  of  the  earliest  “Ispahans”  from 
Herat. 

To  Kirman  in  southern  Persia  is  attributed  an  im- 
portant class  of  rugs,  mainly  of  the  sixteenth  century. 
Characteristic  of  one  group  of  Kirmans  is  the  use  of 
individual  plant  forms  repeated  at  close  intervals  over 
the  field,  sometimes  within  a trellis-like  framework. 
An  early  example  of  this  type  is  No.  53.  The  so-called 
“vase  carpets”  form  another  group,  dating  from  about 
the  second  third  of  the  sixteenth  century;  in  rugs  of 
this  type,  large  ogee-shaped  compartments  are  filled 
with  flowering  plants,  palmettes,  and  vases  (see  No. 

65). 

During  the  first  half  of  the  seventeenth  century  the 
imperial  manufactories  produced  a class  of  rugs  distin- 
guished by  their  delicate  colors  and  liberal  use  of  gold 
and  silver.  It  was  once  thought  that  these  rugs  were 
Polish,  but  in  reality  they  were  made  in  Persia  as 
presents  to  be  sent  from  the  Shah  to  Europeans  of  high 
rank. 

A well-known  type  of  Persian  carpet,  the  so-called 
“Ispahan,”  comes  from  the  region  of  Herat  in  eastern 
Persia.  The  patterns  are  characterized  by  the  use  of 
palmettes,  Chinese  cloud  bands,  and  scrolling  stems; 
the  borders,  in  the  best  examples,  are  often  very  beauti- 
ful. The  usual  color  of  the  ground  is  red,  with  borders 
of  blue  or  green.  The  finest  examples  date  from  the 


X 


INTRODUCTION 


second  half  of  the  sixteenth  century  or  the  early  seven- 
teenth ; after  the  middle  of  the  latter  century  the  Herat 
rugs  deteriorated  in  design  and  manufacture.  Rugs  of 
the  “Ispahan”  type  were  also  woven  in  India,  and 
Persian  influence  may  be  seen  in  another  class  of  Indian 
rugs  with  floral  motives  in  trellis  patterns.  Animal 
and  hunting  carpets,  reminiscent  of  Persian  models,  are 
also  known.  No.  63  is  an  Indian  carpet  of  unusual 
design,  but  typical  in  color. 

In  the  main,  boldness  of  design,  rather  than  refine- 
ment, is  characteristic  of  old  Turkish  carpets.  The 
patterns  have  often  a geometric  character,  and  the 
curving  line  is  not  so  common  as  the  rectilinear.  Ani- 
mal and  human  forms  are  practically  excluded,  but  con- 
ventionalized floral  motives — and  even  fairly  realistic 
renderings  of  the  tulip,  hyacinth,  pink,  and  other  flow- 
ers found  on  the  so-called  “Rhodian”  and  “Damascus” 
faience  of  the  period — are  of  frequent  occurrence.  The 
coloring  of  the  old  rugs  is  generally  rather  bright  and 
full-hued,  with  vigorous  contrasts  of  scarlet  and  yellow 
or  of  red  and  blue.  In  some  of  the  later  fabrics,  such 
as  the  Ghiordes,  more  delicate  colors  and  lighter  effects 
were  sought;  but  in  general,  it  is  the  direct,  straight- 
forward character  of  design  and  color  which  distin- 
guishes carpets  of  Turkish  origin. 

In  describing  these  rugs  one  might  with  equal  pro- 
priety substitute  the  designation  Asia  Minor  for 
Turkish,  since  for  centuries  the  chief  centers  of  Turkish 
rug  weaving  have  been  in  Anatolia.  To  Armenia, 
however,  has  been  assigned  an  important  class  of  rugs, 
the  so-called  “dragon  carpets,”  for  which  a very  early 
date  has  been  claimed.  There  do  not  appear  to  be 


XI 


INTRODUCTION 


sufficient  grounds  for  describing  these  carpets  definitely 
as  Armenian,  although  they  were  probably  made  in 
eastern  Asia  Minor;  and  such  early  dates  as  the  thir- 
teenth and  fourteenth  centuries,  which  have  been  pro- 
posed for  rugs  of  this  type,  are  now  seriously  ques- 
tioned. The  design  of  these  “dragon  carpets”  (see 
Nos.  20,  34)  is  undoubtedly  archaic  in  character,  but 
the  type  is  probably  traditional  and  the  actual  date  of 
manufacture,  for  the  most  primitive  examples,  is  hardly 
earlier  than  the  fifteenth  century.  Indeed,  the  ma- 
jority of  these  splendidly  decorative  “dragon  carpets” 
should  probably  be  assigned  to  the  sixteenth  or  seven- 
teenth century. 

Rug  weaving  was  undoubtedly  practised  at  a very 
early  date  in  Asia  Minor,  although  few  specimens  have 
survived,  such  as  the  three  rugs  in  the  Mosque  of  Ala- 
ed-Din  at  Konieh,  which  are  believed  to  be  of  the 
thirteenth  century,  and  the  dragon  and  phoenix  carpet 
in  the  Kaiser  Friedrich  Museum,  Berlin,  which  may  be 
dated  in  the  fourteenth  or  early  fifteenth  century. 
With  the  latter  century  our  task  is  easier,  and  a con- 
siderable number  of  existing  rugs  may  be  assigned  to 
this  century  on  the  evidence  afforded  by  contempo- 
raneous European  paintings  in  which  oriental  carpets 
are  introduced. 

Some  of  the  oldest  existing  Asia  Minor  rugs  are 
known  as  “Holbein  rugs,”  since  they  occur  in  paintings 
by  Holbein  and  other  artists  of  his  time.  Rugs  of  this 
type  have  a purely  geometric  pattern  consisting  of  stars 
or  squares  outlined  with  interlacing  bands ; the  borders 
often  imitate  Kufic  lettering. 

xii 


INTRODUCTION 

Another  type  of  rug  frequently  seen  in  European 
paintings  of  the  sixteenth  and  seventeenth  centuries  is 
patterned  with  an  all-over  design  of  angular  ara- 
besques or  leaf-forms  in  yellow  on  a scarlet  ground ; 
in  the  borders  are  Chinese  cloud  bands  or  simulated 
Kufic  letters  (see  No.  30). 

A familiar  class  of  Asia  Minor  rugs  of  the  sixteenth 
and  seventeenth  centuries,  well  represented  in  the  ex- 
hibition, comes  from  the  looms  of  Oushak.  Large  star 
motives,  filled  with  angular  arabesque  designs,  either 
complete  or  halved  by  the  border,  are  characteristic  of 
these  rugs,  which  combine  blue  and  yellow  or  blue  and 
red  (see  No.  17). 

The  Ballard  Collection  is  particularly  rich  in  rugs 
of  the  so-called  “Damascus”  type.  The  group  of  seven 
here  exhibited  is  probably  the  largest  number  in  any 
one  collection.  These  rugs,  of  fine  angora  wool,  are 
readily  distinguished  by  their  unusual  color  scheme  of 
cherry  red,  sage  green,  yellow,  and  light  blue.  Two 
main  types  of  design  may  be  noted.  In  one,  the  field 
consists  of  a square,  inclosing  an  octagon,  with  oblong 
panels  at  either  end  (see  No.  54),  or  the  field  may  be 
divided  into  squares  inclosing  hexagons  (see  No.  55)  ; 
in  the  borders  are  alternating  large  and  small  car- 
touches.  Within  these  areas,  the  ornament  is  small  in 
scale  and  includes  conventionalized  trees,  flowering 
shrubs,  stars,  and  rosettes.  Floral  ornament  charac- 
terizes the  other  type,  which  follows  the  central  medal- 
lion scheme  of  composition  with  quadrants  in  the  cor- 
ners. In  the  designs  which  show  Persian  influence, 
Chinese  cloud  bands,  palmettes,  and  curving,  serrated 
leaves  are  combined  with  such  flowers  as  the  tulip, 
xiii 


INTRODUCTION 


hyacinth,  rose,  and  carnation.  Nos.  66,  67,  and  68  are 
magnificent  examples  of  this  type. 

There  is  no  evidence  that  rugs  were  woven  at  Da- 
mascus. In  all  probability,  just  as  the  so-called 
“Rhodian”  and  “Damascus”  faience  is  now  known  to 
have  been  made  in  northwestern  Asia  Minor,  so  these 
“Damascus”  carpets,  which  repeat  the  floral  motive  of 
the  faience,  may  presumably  be  assigned  to  the  same 
region,  and  not  unreasonably,  in  view  of  their  fine 
quality  both  in  weaving  and  in  design,  to  an  iniperial 
manufactory. 

A group  of  five  Bergamo  rugs  (Nos.  25,  28,  32,  36, 
61)  offers  an  unusual  interest  to  the  visitor,  as  this 
type  is  not  represented  in  the  Museum  collection.  The 
“Bergamas”  are  sometimes  called  “Seven  Mountain 
rugs,”  because  many  have  been  found  in  the  region 
of  the  Siebengebirge  in  southern  Germany.  They  are 
squarer  than  most  Asia  Minor  rugs,  and  have  a charac- 
teristic medallion  border;  prayer  rugs  are  uncommon. 
Rugs  of  this  kind  may  be  seen  in  European  paintings  of 
the  sixteenth  and  seventeenth  centuries. 

Ladik  is  another  important  center  of  rug  production 
hitherto  unrepresented  in  the  Museum.  The  prayer 
rugs.  Nos.  18,  35,  47,  and  52,  with  their  rich  coloring 
and  characteristic  ornament  of  pomegranate  stalks  and 
“arrow-heads”  or  “Vandykes”  are  splendid  examples 
of  the  Ladik  weaves.  One,  No.  47,  will  have  a special 
interest  for  students  as  it  bears  the  date  mo  of  the 
Hegira  (a.d.  1699). 

From  Ghiordes  and  Koulah  in  western  Asia  Minor 
come  the  prayer  rugs  which  constitute  a particular 
feature  of  the  Ballard  Collection.  The  general  char- 


xiv 


INTRODUCTION 


acteristics  of  these  rugs  are  well  known. ^ The  intro- 
duction of  ornament  in  the  niche  field  is  more  common 
in  the  Koulah  than  in  the  Ghiordes  type,  where  the 
effect  is  usually  that  of  a solid-color  field;  the  Koulah 
niche  is  generally  lower  than  the  Ghiordes,  and  the 
border  stripes  more  numerous;  the  Ghiordes,  as  a gen- 
eral rule,  has  a cross  panel  above  and  below  its  field, 
the  Koulah,  only  the  upper  panel.  The  finest  produc- 
tion of  the  Ghiordes  and  Koulah  looms,  such  as  those 
exhibited  here,  date  from  the  seventeenth  and  eigh- 
teenth centuries.  No.  1 1 , with  its  unusual  decoration  of 
a sura  from  the  Koran  filling  the  entire  field  of  the 
prayer  niche,  is  dated  a.d.  1614.  Although  the  design 
of  these  rugs  may  seem  sometimes  rather  thin  in  com- 
parison with  earlier  carpets,  the  best  examples  are 
delightfully  harmonious  in  color.  Delicate  hues  are 
skilfully  contrasted  with  strong,  pure  colors,  and  one 
has  only  to  consider  as  color  alone  the  beautiful  shades 
of  blue,  nile  green,  or  ruby  in  the  mihrabs  of  such  rugs 
as  Nos.  2,  3,  6,  and  9 to  understand  the  popularity 
which  this  class  of  rug  has  long  enjoyed. 

In  conclusion,  a few  words  must  be  said  about  the 
two  Spanish  carpets  in  the  exhibition,  one  dating  from 
about  1500,  and  the  other  from  the  early  seventeenth 
century.  The  technique  of  rug  weaving  was  brought 
to  Spain  by  the  Arabs,  and  the  designs  of  the  earliest 
Spanish  rugs  quite  naturally  show  a family  resem- 
blance to  the  products  of  the  Near  Eastern  looms. 
But  at  the  end  of  the  fifteenth  century,  a new  type 

1 The  niche,  it  may  be  recalled,  represents  the  mihrab 
built  into  the  wall  of  the  mosque  to  indicate  the  direction  of 
Mecca. 


XV 


INTRODUCTION 


of  design,  European  in  character  and  based  on  Renais- 
sance motives,  came  into  favor.  No.  69,  with  its  large 
wreaths  and  winged-dragon  border,  is  a splendid  ex- 
ample of  these  Spanish  Renaissance  carpets.  At  the 
same  time,  however,  imported  oriental  carpets  were 
copied  or  freely  imitated  by  the  Spanish  weavers. 
Sometimes,  as  in  No.  8,  the  two  influences,  oriental 
and  European,  are  combined;  in  this  carpet  the  field 
design  is  based  on  the  arabesque  patterns  of  such  Asia 
Minor  carpets  as  Nos.  23  and  30,  but  the  border  de- 
sign is  European. 

Joseph  Breck. 


XVI 


CATALOGUE 


CATALOGUE 


Note:  The  catalogue  follows  the 
arrangement  of  the  rugs  as  ex- 
hibited, but  on  page  27  will  be 
found  a table  of  catalogue  num- 
bers grouped  according  to  the  difE“ 
erent  types  of  rugs  represented. 

1 Asia  Minor  (Ghiordes),  XVII  Century 

Prayer  Rug.  Niche,  white  ground  with  floral 
ornament;  in  the  apex,  a spray  of  flowers  and  an 
inscription:  “There  is  but  one  God  and  Mohammed 
is  His  prophet.”  A cross  panel  at  the  top  contains 
another  inscription  not  yet  translated.  In  the 
principal  border,  surrounded  by  narrower  stripes  in 
white  and  yellow,  is  a design  of  rosettes  and  medal- 
lions in  light  blue  and  yellow  on  a deep  blue 
ground. 

Wool.  5 ft.  10  in.  X 4 ft. 

2 Asia  Minor  (Ghiordes),  Late  XVII  Century 

Prayer  Rug.  Niche,  light  green,  with  floral 
borders  and  suspended  spray  in  red  and  white; 
in  spandrels  and  upper  and  lower  panels,  other 
floral  ornament.  Unusually  wide  border  of  seven 
stripes;  colors  mainly  red,  light  blue,  and  white. 


3 


THE  METROPOLITAN  MUSEUM  OF  ART 


except  in  the  principal  border,  where  dark  blue 
occurs  in  the  broad  leaf  and  stem  of  a repeating 
plant  motive. 

Wool.  6 ft.  3 in.  X 4 ft.  6 in. 

3 Asia  Minor  (Ghiordes),  XVII  Century 

Prayer  Rug.  Red  niche  with  suspended  lamp; 
blue  ground  spandrels;  light  green  and  buff  panels 
above  and  below.  Main  border,  alternating 
medallions  and  palmettes  with  attendant  leaves  on 
light  yellow-green  ground,  between  three  inner  and 
three  outer  guard  stripes. 

Wool.  5 ft.  7 in.  X 4 ft.  i in. 

4 Asia  Minor  (Ghiordes),  XVII  Century 

Prayer  Rug.  On  the  red  ground  of  the  niche, 
conventional  columns,  mosque  lamp,  and  (inserted) 
vase  of  flowers.  Gold  thread  introduced  in  the 
columns  and  other  ornament  of  the  niche.  Span- 
drels, dark  blue;  cross  panels  above  and  below. 
In  the  main  border  stripe  are  palmettes,  medallions, 
and  attendant  leaves  in  red,  blue,  and  white  on  a 
greenish  tan  ground. 

Wool.  5 ft.  5 in.  X 4 ft.  i in. 

5 Asia  Minor  (Ghiordes),  Late  XVII  Century 

Prayer  Rug.  Niche,  deep  blue;  spandrels,  light 
terracotta;  narrow  panels  above  and  below.  Seven- 
stripe  border;  in  the  main  stripe,  repeating  design 
of  the  triple  pomegranate  motive,  in  blue,  red,  and 
yellow  on  a white  ground. 

Wool.  5 ft.  8 in.  X 4 ft.  2 in. 


4 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

6 Asia  Minor  (Ghiordes),  XVII  Century 

Prayer  Rug.  On  the  delicate  robin’s-egg  blue  of 
the  niche  are  two  conventional  columns  and  a 
mosque  lamp.  Narrow  panels  above  and  below. 
The  border  stripes  are  closely  patterned  with  floral 
and  geometric  ornament  in  light  yellow,  rose,  blue, 
and  green,  with  occasional  passages  in  deep  blue, 
giving  vivacity  to  the  whole. 

Wool.  5 ft.  6 in.  X 3 ft.  8 in. 

7 Asia  Minor  (Ghiordes),  XVII  Century 

Betrothal  Rug.  Double-arched  field,  white 
ground  patterned  with  “catspaws”;  spandrels,  with 
blue  and  red  arabesques  on  green  ground;  central 
medallion,  red  and  yellow  design  on  blue  ground. 
Border:  zigzag  of  broad  white  bands  with  “cats- 
paws,”  forming  triangular  fields  in  blue  or  red, 
between  two  secondary  stripes. 

Wool.  4 ft.  I in.  X 3 ft.  8 in. 

8 Spain,  Early  XVII  Century 

Field:  on  a tan  ground,  arabesque  design  in 
blue,  green,  orange-yellow,  and  yellow,  outlined  in 
white,  blue,  or  light  blue.  Border:  on  tan  ground, 
banded  ribbon  design  in  blue  and  conventionalized 
leaf  forms  in  the  colors  of  the  field  ornament. 

Wool.  II  ft.  X 5 ft.  7 in. 

9 Asia  Minor  (Ghiordes),  Late  XVII  Century 

Prdyer  Rug.  Deep  blue  center,  with  two 
columns  and  floral  spray;  light  green  spandrels; 
panels  above  and  below.  Seven-stripe  border  with 


5 


THE  METROPOLITAN  MUSEUM  OF  ART 

the  triple  pomegranate  motive  in  light  blue  and 
red  on  a white  ground. 

Wool.  5 ft.  9 in.  X 4 ft.  3 in. 

10  Asia  Minor  (Ghiordes),  XVII  Century 

Prayer  Rug.  Light  gray-green  niche  with  two 
columns;  floral  spray  in  place  of  lamp;  spandrels, 
light  blue  ground;  panels  above  and  below.  Terra- 
cotta red,  gray-green,  light  blue,  and  brown  pre- 
dominate in  the  closely  patterned  seven-stripe  bor- 
der. 

Wool.  5 ft.  3 in.  X 4 ft.  I in.  Illustrated. 

11  Asia  Minor  (Ghiordes),  XVII  Century 

Prayer  Rug.  On  the  red  field  of  the  niche  is 
a sura  from  the  Koran,  with  the  date  1022  of  the 
Hegira  (a.d.  1614).  Two  cross  panels  complete 
the  field.  Border,  seven  stripes,  with  medallions 
and  rosettes  in  the  main  stripe. 

Wool.  5 ft.  2 in.  X 4 ft. 

12  Asia  Minor  (Ghiordes),  XVII  Century 

Prayer  Rug.  Niche  with  suspended  lamp  and 
inverted  ewer,  red  ground;  blue  spandrels;  light 
blue  and  buff  panels  above  and  below.  Main 
border  stripe,  palmettes  and  rosettes  with  at- 
tendant leaves  on  a light  tan  ground,  between  three 
inner  and  three  outer  guard  stripes. 

Wool.  5 ft.  3 in.  X 4 ft.  2 in. 

13  Asia  Minor,  XVI  Century 

Prayer  Rug.  In  the  white  field  of  the  niche  are 
represented  two  candlesticks  and  a mosque  lamp, 

6 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

in  yellow  and  red  outlined  in  dark  green.  In  the 
spandrels,  a Chinese  cloud  band  with  floral  motives, 
rosettes,  hyacinths,  tulips,  carnations,  and  pinks,  in 
green  and  red  on  a yellow  ground.  Narrow  panel 
above,  with  tracery  of  hyacinths  and  arabesques, 
red  and  green,  on  a white  ground.  Border:  on  a 
yellow  ground,  six  oblong  panels  and  six  circular 
medallions,  with  inscriptions  in  green  and  red  on  a 
white  ground,  surrounded  by  Chinese  cloud  bands 
outlined  in  green  and  red.  Inner  and  outer  borders 
with  floral  design  in  the  same  colors  on  a yellow 
ground.  This  is  a piece  of  most  unusual  character 
and  rarity. 

Wool.  5 ft.  10  in.  X 3 ft.  10^4  in.  Illustrated. 

14  Asia  Minor  (Ghiordes),  Late  XVII  Century 

Prayer  Rug.  Niche,  light  gray-green,  with 
ivory  white  spandrels;  narrow  panels  above  and 
below.  Seven-stripe  border  in  ivory  white,  light 
green,  terracotta  red,  and  violet. 

Wool.  5 ft.  6 in.  X 4 ft.  I in. 

15  Eastern  Asia  Minor  or  Armenia  (Kuba?), 

Early  XVII  Century 

Runner.  Medallions  and  leaves  in  yellow,  red, 
light  blue,  and  white  on  a dark  blue  ground. 
Broad  yellow  border  with  guard  stripes  in  a re- 
ciprocal trefoil  pattern. 

Wool.  12  ft.  6 in.  X 2 ft.  I in. 

16  Asia  Minor  (Yuruk?),  XVII-XVIII  Century 

Field:  trellis  framework  with  hooked  ornament 
inclosing  octagonal  fields  of  green,  blue,  violet. 


7 


THE  METROPOLITAN  MUSEUM  OF  ART 

orange,  and  red,  patterned  with  geometric  orna- 
ment in  contrasting  colors.  Border:  on  a yellow 
ground,  running  hook  pattern  in  red. 

Wool.  6 ft.  I in.  X 4 ft. 

17  Asia  Minor  (Oushak),  Middle  of  XVI 

Century 

Field:  on  a red  ground,  patterned  with  small 
palmettes  and  stems,  a large  central  star,  outlined 
in  white,  with  an  arabesque  design  in  red  and  yel- 
low on  a blue  ground,  between  two  four-pointed 
stars  and  parts  of  four  large  stars  similar  to  the 
central  motive.  Border:  leaf  and  flower  design,  on 
a blue  ground,  with  inner  guard  stripe  of  yellow. 

Wool.  5 ft.  7 in.  X 3 ft.  5 in. 

18  Asia  Minor  (Ladik),  Late  XVII  Century 

Prayer  Rug.  Field:  light  blue  niche,  with 
flowering  tree  terminating  in  ewers;  below  niche, 
panel  with  five  pomegranate  stalks  in  light  blue 
on  a yellow  ground  rising  from  “arrow-heads”  of 
brown,  yellow,  and  blue;  above,  floral  motives  in 
same  colors  on  a yellow  ground.  Border:  on  a 
blue  ground,  lily  motives  and  medallions,  between 
secondary  stripes  with  yellow  ground. 

Wool.  6 ft.  8 in.  X 3 ft.  7 in.  Illustrated. 

19  Western  Asia  Minor,  First  Half  of  XVI 

Century 

Prayer  Rug.  Field:  on  a buff-colored  ground, 
an  octagon  in  gray  and  rusty  black  with  two  in- 
scriptions: that  in  the  center  is  the  small  Sura  112 

8 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

of  the  Koran,  reading:  “Say,  He  is  God  alone, 
God  the  Eternal ! He  begets  not  and  is  not  begot- 
ten! Nor  is  there  like  unto  Him  anyone!”;  this 
is  surrounded  by  an  inscription  in  Turkish:  “Who- 
soever prays  upon  this  carpet,  may  his  prayer  be 
accepted  and  (may  God)  make  him  attain  his 
desire  (?)  and  from  Heaven  may  his  sins  be  wiped 
out.”  In  the  corner  areas  of  the  field  are 
arabesques  in  blue,  yellow,  green,  etc.  Border:  in 
the  principal  stripe  are  six  panels  with  inscriptions 
and  Kufic  letters  simulating  an  inscription.  The 
Neskhi  inscription  in  five  of  the  panels  repeats 
the  sura  generally  called  Ayat-al-Kursiyi : “God! 
There  is  no  God  but  He,  the  Living,  the  Self- 
Subsistent;  slumber  takes  Him  not,  nor  sleep.  His 
is  what  is  in  the  heavens,  and  what  is  in  the  earth. 
Who  is  it  that  intercedes  with  Him  save  with  His 
permission?  He  knows  what  is  before  them  and 
what  is  behind  them,  and  they  comprehend  not 
aught  of  His  knowledge  but  what  He  pleases.  His 
throne  extends  over  the  heavens  and  the  earth  and 
it  tries  Him  not  to  guard  them  both,  for  He  is 
high  and  grand.” 

The  characters  are  in  buff  on  a black  ground ; 
between  the  panels  are  flowers  in  red,  blue,  green, 
and  white.  The  repeating  design  of  the  guard 
stripes  is  composed  of  three  balls,  either  yellow  or 
blue,  between  two  tiger  stripes  in  sage  green,  on 
a dark  red  ground. 

Wool.  5 ft.  4 in.  X 3 ft.  5 in.  Illustrated. 


9 


THE  METROPOLITAN  MUSEUM  OF  ART 

20  Eastern  Asia  Minor  (Armenia?),  XVI 

Century 

So-Called  “Dragon  Carpet.”  Field:  on  a blue 
ground,  serrated  bands  and  leaves  with  medallions 
and  palmettes  in  white  and  red  form  a trellis  frame- 
work, inclosing  other  palmettes  and  dragon  mo- 
tives. In  addition  to  the  colors  mentioned  are 
violet  and  light  green.  Border:  on  a yellow  ground, 
conventionalized  vine  pattern;  guard  bands,  with 
reciprocal  trefoil  design  in  blue  and  red. 

Wool.  15  ft.  2 in.  X 7 ft.  2 in.  Illustrated. 

21  Asia  Minor  (Oushak?),  Middle  of  XVI 

Century 

Prayer  Rug.  Niche  outlined  by  narrow  blue 
band.  Entire  field  covered  with  palmettes  and 
leaves  in  red,  yellow,  and  light  blue  on  a red 
ground.  Border : similar  motives  on  a blue  ground, 
with  vine  pattern  on  a red  ground  in  the  outer 
border. 

Wool.  5 ft.  X 3 ft.  5 in. 

22  Asia  Minor  (Oushak),  First  Half  of  XVI 

Century 

Hearth  Rug.  Field:  red  ground,  with  spandrel 
ornament  in  green,  yellow,  blue;  in  the  center,  a 
quatrefoil  with  red  and  blue  floral  ornament  on 
a red  ground.  Border:  between  narrow  guard 
stripes,  Chinese  cloud  bands  and  conventionalized 
- floral  motives  in  red,  light  blue,  rose,  and  yellow, 
on  a blue  ground. 

Wool.  5 ft.  X 3 ft.  7 in.  Illustrated. 


10 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

23  Asia  Minor  (Oushak?),  Early  XVII 

Century 

Yellow  arabesques,  with  accents  of  blue  and 
white,  on  a scarlet  ground.  Border:  on  a dark 
blue  ground,  yellow  and  light  blue  medallions  in- 
closing motives  in  red  and  yellow  or  red  and  blue; 
narrow  inner  stripe  of  white  and  red,  and  broad 
outer  stripe  of  red. 

Wool.  5 ft.  8 in.  X 4 ft.  Illustrated. 

24  Asia  Minor  (Oushak),  Early  XVI  Century 

Field:  on  a red  ground,  large  star  motive  in  dark 
blue,  outlined  in  white,  inclosing  ornament  in  red, 
yellow,  and  light  blue ; two  triangular  fields  of 
similar  character  with  palmettes  and  other  orna- 
ment in  green,  yellow,  and  other  colors  complete 
the  field  design.  Border:  between  narrow  guard 
stripes,  conventionalized  leaf  and  flower  motives. 

Wool.  5 ft.  9 in.  X 4 ft.  Illustrated. 

25  Asia  Minor  (Bergamo),  Early  XVII  Century 

Hearth  Rug.  Field:  two  lamps  or  vases  with 
floral  and  leaf  motives  on  a blue  ground  with 
arches  at  either  end ; in  the  spandrels,  green 
arabesques  on  a red  ground.  Border:  blue,  yellow, 
and  white  medallions  on  a red  ground,  between 
narrow  secondary  stripes. 

Wool.  6 ft.  2 in.  X 4 ft. 

26  Central  Asia  Minor  (Oushak?),  First  Half 

OF  XVI  Century 

Hearth  Rug.  Field:  red  ground,  arched  at 
either  end;  spandrels  filled  with  cloud  bands  in 

1 1 


THE  METROPOLITAN  MUSEUM  OF  ART 

blue  and  green;  central  star  in  blue,  green,  and 
yellow.  Border:  palmette  and  leaf  design  in  red, 
yellow,  green,  and  blue  on  dark  blue  ground;  sec- 
ondary stripes  with  designs  in  blue  and  green. 

Wool.  5 ft.  lO  in.  X 3 ft.  9 in.  Illustrated. 

27  Asia  Minor  (Oushak),  First  Half  of  XVI 

Century 

Field:  on  a red  ground,  patterned  with  dark 
blue  floral  motives,  a large  central  medallion,  dark 
blue  ground,  inclosing  a quatrefoil  with  red  ground 
framed  hy  yellow  arabesques.  At  the  ends,  half- 
sections of  sixteen-pointed  stars  with  dark  green 
ground  outlined  with  yellow.  Border:  on  a blue 
ground,  Chinese  cloud  motives  and  floral  ornament 
in  yellow  and  red  between  inner  and  outer  stripes 
of  yellow  and  red. 

Wool.  14  ft.  10  in.  X 7 ft.  4 in.  Illustrated. 

28  Asia  Minor  (Bergamo),  Late  XVI  Century 

Hearth  Rug.  Field:  red  ground,  arched  at 
either  end ; in  the  spandrels,  conventionalized 
flower  and  leaf  forms  in  red  and  white  on  a blue 
ground;  in  the  main  field,  two  yellow  lamps  or 
vases  with  palmettes  and  rosettes  in  blue  and 
white.  Border:  on  a yellow  ground,  alternating 
medallions  and  stars  in  white,  red,  blue,  and  yel- 
low ; secondary  stripes,  reciprocal  trefoil  in  red  and 
brown. 

Wool.  5 ft.  3 in.  X 4 ft.  I in.  Illustrated. 


12 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

29  Asia  Minor  (Oushak?),  Middle  of  XVI 

Century 

Hearth  Rug.  Field:  red,  niche  at  either  end, 
with  Chinese  cloud  bands  in  the  spandrels  in  yel- 
low and  blue;  central  hexagon  with  red  star  on 
dark  blue.  Border : red,  yellow,  and  green  leaf  and 
palmette  design  on  dark  blue;  secondary  stripes, 
red  ground. 

Wool.  5 ft.  I in.  X 3 ft.  5 in. 

30  Asia  Minor  (Oushak?),  Early  XVI  Century 

Field:  on  a scarlet  ground,  arabesque  design  in 
yellow  with  accents  in  blue  and  white.  Border: 
simulated  Kufic  letters  in  white  and  red  on  a green 
ground,  with  guard  stripes  in  blue  and  yellow  on 
a red  ground. 

Wool.  5 ft.  7 in.  X 3 ft.  10  in. 

31  Asia  Minor,  First  Half  of  XVI  Century 

Field:  on  a yellow  ground,  large  palmettes, 
leaves,  and  rosettes  in  red,  red-violet,  blue,  and 
white.  Border:  on  a red  ground,  rosettes  in  colors 
of  the  field  ornament  with  yellow  guard  stripes. 

Wool.  5 ft.  9 in.  X 4 ft.  I in.  Illustrated. 

32  Asia  Minor  (Bergamo),  Late  XVI  Century 

Prayer  Rug.  On  the  ivory  ground  of  the  niche, 
a suspended  mosque  lamp,  palmettes,  other  floral 
motives,  and  leaves,  in  blue,  yellow,  and  red ; 
spandrels,  red,  with  arabesque  ornament  in  black 
outlined  with  white.  Border : on  a yellow  ground. 


13 


THE  METROPOLITAN  MUSEUM  OF  ART 

medallions,  blue  and  white,  with  arabesque  de- 
signs; secondary  stripes  with  reciprocal  trefoil  de- 
sign in  red  and  brown. 

Wool.  6 ft.  4 in.  X 4 ft.  Illustrated. 

33  Asia  Minor  (Oushak?),  XVI  Century 

Prayer  Rug.  Field:  red  ground;  niche  outlined 
by  black  band  with  design  in  white,  red,  and  blue; 
in  the  niche,  two  triangular  fields  in  blue  and  cen- 
tral star  in  green.  Border:  on  a black  ground, 
angular  leaf  and  stem  design  in  yellow,  red,  and 
blue. 

Wool.  5 ft.  X 3 ft.  1 1 in.  Illustrated. 

34  Eastern  Asia  Minor  (Armenia?),  XVI 

Century 

So-Called  “Dragon  Carpet.”  Field:  on  a red 
ground,  large  serrated  leaves  in  dark  blue  and 
white,  with  medallions  and  large  palmettes,  form 
a trellis  pattern  inclosing  other  palmettes  and  yel- 
low dragon  motives;  violet,  dark  blue,  and  light 
blue  occur  in  the  palmettes.  Border:  on  a white 
ground,  a design  of  conventionalized  lilies,  rosettes, 
and  palmettes  in  the  colors  of  the  field  ornament. 

Wool.  12  ft.  7 in.  X 7 ft.  6 in.  Illustrated. 

35  Asia  Minor  (Ladik),  Late  XVII  Century 

Field:  on  a red  ground,  triple  arcade  in  blue 
and  ivory ; above,  cross  panel  with  five  pomegranate 
stalks  springing  from  “arrow  points.”  Border: 
medallions  in  red,  light  blue,  and  ivory  on  a blue 
ground ; narrow  secondary  stripes. 

Wool.  5 ft.  8 in.  X 4 ft.  Illustrated. 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

36  Asia  Minor  (Bergamo),  XVII  Century 

Field:  on  a red  ground,  three  large  palmettes 
with  broad  leaves  and  smaller  floral  and  leaf  orna- 
ment in  blue,  red,  yellow,  and  white.  Border: 
between  narrow  guard  stripes,  rosettes  and  floral 
motives  in  blue,  red,  and  brown. 

Wool.  7 ft.  I in.  X 5 ft.  2 in. 

37  Asia  Minor  (Ladik),  Late  XVII  Century 

Hearth  Rug.  On  a blue  field,  closely  patterned 
with  leaf  and  floral  motives,  three  narrow  panels  in 
red,  arched  at  ends.  Border:  blue  and  red  medal- 
lions on  light  yellow  ground,  with  three  inner  and 
one  outer  stripe. 

Wool.  6 ft.  3 in.  X 4 ft.  6 in. 

38  Asia  Minor,  XVI  Century 

Field:  on  a light  red  ground,  trellis  pattern  with 
small  stars  in  blue  and  yellow.  Border : on  a light 
blue  ground,  design  in  yellow  and  red. 

Wool.  7 ft.  2 in.  X 4 ft.  3 in. 

39  Western  Asia  Minor,  Late  XVII  Century 

Field:  on  a red  ground,  patterned  with  pinks 
and  rosettes,  arabesques  in  white  and  red  define 
blue  fields  covered  with  floral  ornament  in  white, 
red,  and  green.  Border : on  a yellow  ground, 
meander  design  of  pinks,  roses,  etc.,  in  red,  light 
and  dark  blue,  with  guard  bands  in  blue  and  dark 
brown.  Rugs  of  this  type  are  sometimes  called 
Rhodian;  the  texture  recalls  the  Koulah  rugs. 

Wool.  10  ft.  I in.  X 3 ft.  10  in. 


15 


THE  METROPOLITAN  MUSEUM  OF  ART 

40  Asia  Minor  (Koulah),  Late  XVII  Century 

Prayer  Rug.  On  the  blue  ground  of  the  niche, 
a “tree”  design  in  red  and  buff;  single  cross  panel 
above.  Border  of  numerous  small  stripes  ’with 
white,  buff,  red,  and  brownish  black  grounds. 

Wool.  6 ft.  9 in.  X 4 ft.  2 in. 

41  Asia  Minor  (Koulah?— Ghiordes?),  Early 

XVII  Century 

Prayer  Rug.  On  the  red  ground  of  the  niche 
two  columns  with  ewers  and  a floral  device  sus- 
pended from  the  apex ; in  the  spandrels,  a design 
in  light  yellow  on  blue;  cross  panel  above.  On 
the  blue  ground  of  the  principal  border,  palmettes 
and  medallions  with  leaves  and  floral  sprays  in 
white  and  tan,  with  small  passages  of  red,  green, 
and  black. 

Wool.  6 ft.  7 in.  X 4 ft.  4 in.  Illustrated. 

42  Asia  Minor,  Late  XVII  Century 

Prayer  Rug.  Khilim  (tapestry  weave)  enriched 
with  gold  and  silver  thread.  Field:  triple  arcade 
of  green  inclosing  tree  devices  on  a white  ground. 
Border:  on  blue  or  tan  grounds,  vine  and  plant 
motives  in  blue,  brown,  red,  yellow,  and  white. 

Wool.  5 ft.  X 3 ft.  7 in. 

43  Asia  Minor  (Koulah),  Late  XVII  Century 

Prayer  Rug.  Niche,  dark  blue  ground  powdered 
with  small  yellow  stars;  cross  panel  above.  Other 
stars  and  small  motives  decorate  the  light  blue 

16 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

spandrels,  and  the  white,  buff,  and  brownish  black 
stripes  of  the  border. 

Wool.  5 ft.  7 in.  X 3 ft.  lO  in. 

44  Asia  Minor  (Koulah),  Early  XVII  Century 

Prayer  Rug.  Red  niche,  with  small  floral  de- 
vice at  the  apex;  in  the  spandrels,  foliated  scroll 
design  in  yellow,  red,  and  white  on  light  blue 
ground;  above,  cross  panel  with  floral  motives  on 
red  ground.  In  the  principal  border,  banded  by 
narrow  yellow  and  red  stripes,  a design  of  palmettes 
and  rosettes  in  red,  white,  and  yellow  on  blue 
ground. 

Wool.  5 ft.  lo  in.  X 4 ft. 

45  Asia  Minor  (Koulah),  Late  XVII  Century 

Prayer  Rug.  On  a red  ground,  suspended  from 
the  apex  of  the  niche,  an  inverted  ewer  and  pendent 
floral  device;  two  columns  and  spandrels  in  light 
blue;  cross  panel  above.  A floral  unit  in  yellow, 
red,  and  white  repeats  on  the  dark  blue  ground  of 
the  principal  border,  which  is  surrounded  by  nar- 
rower stripes  with  white,  yellow,  and  red  grounds. 

Wool.  6 ft.  3 in.  X 4 ft.  3 in. 

46  Eastern  Asia  Minor  or  Armenia  (Kuba?), 

About  1650 

Field:  on  a deep  blue  ground,  rows  of  shield- 
shaped cartouches,  inclosing  leaf  or  tree  motives, 
alternating  with  rows  of  broad  leaves.  The  colors 
are  red,  yellow,  tan,  light  blue,  white,  and  black. 
On  the  white  ground  of  the  border,  between  nar- 


17 


THE  METROPOLITAN  MUSEUM  OF  ART 

row  guard  stripes,  is  an  “anchor”  design  in  red, 
green,  and  blue. 

Wool.  14  ft.  2 in.  X 6 ft.  5 in.  Illustrated. 

47  Asia  Minor  (Ladik),  Late  XVII  Century 

Prayer  Rug.  On  the  white  ground  of  the  niche 
are  two  columns,  two  ewers,  and  in  the  apex  a 
medallion  bearing  the  date  of  the  Hegira  mo 
(a.d.  1699)  ; in  the  spandrels,  leaves  and  medal- 
lions on  a red  ground;  in  the  panel  below,  five 
pomegranates  on  leafy  stalks  issuing  from  “arrow- 
heads.” On  the  blue  ground  of  the  principal  bor- 
der is  a design  of  alternating  medallions  and  lilies. 
The  ground  of  the  outer  border  is  red,  between 
narrow  white  stripes,  and  of  the  inner,  mulberry 
between  yellow  stripes. 

Wool.  6 ft.  6 in.  X 3 ft.  9 in. 

48  Asia  Minor  (Koulah),  Early  XVII  Century 

Prayer  Rug.  On  the  red  ground  of  the  niche 
are  two  columns  with  ewers,  and  in  the  apex 
a lamp  or  vase  with  flowers;  light  blue  spandrels 
with  floral  pattern  in  yellow;  narrow  panel  above. 
The  principal  border  shows  a design  of  various 
flowers  in  red,  yellow,  and  white  on  a blue  ground. 

Wool.  6 ft.  4 in.  X 4 ft. 

49  Asia  Minor,  Late  XVII  Century 

Prayer  Rug.  Khilim  (tapestry  weave)  enriched 
with  gold  threads.  On  the  red  ground  of  the  niche 
are  three  trees,  the  central  with  pendent  ewers; 

18 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

in  the  spandrels,  other  tree  forms  in  red  and  blue 
on  a gold  ground.  In  the  three-stripe  border  are 
trees,  a meandering  vine,  and  other  motives  in  red, 
green,  and  blue,  on  yellow  and  tan  grounds. 

Wool.  4 ft.  II  in.  X 4 ft.  2 in. 

50  Asia  Minor  (Koulah),  Late  XVII  Century 

Prayer  Rug.  On  the  blue  ground  of  the  niche, 
bordered  with  stars,  are  star-like  flowers  and  vases 
in  yellow  and  light  blue;  cross  panel  above  the 
light  blue  spandrels.  Characteristic  many-striped 
border  with  a small  ornament  in  red,  blue,  and 
light  blue  on  white  and  cream-colored  ground. 

Wool.  6 ft.  X 4 ft.  I in.  Illustrated. 

51  Asia  Minor  (Koulah),  Late  XVII  Century 

Prayer  Rug.  On  the  blue  ground  of  the  niche, 
a unit  design  in  yellow,  white,  and  light  blue, 
composed  of  two  trees,  a tomb,  and  a coffin,  is  re- 
peated on  either  side  of  a “tree”  design  occupying 
the  center  of  the  field.  Characteristic  border  of  nar- 
row stripes,  with  small  rosettes  and  other  figures  on 
grounds  of  white,  yellow,  red,  and  brownish  black. 

Wool.  6 ft.  7 in.  X 4 ft. 

52  Asia  Minor  (Ladik),  Late  XVII  Century 

Prayer  Rug.  Niche,  red  ground;  in  the  span- 
drels, red  and  green  medallions  and  leaves  on  a 
greenish  tan  ground;  below,  on  a red  ground,  a 
characteristic  row  of  pomegranates  and  “arrow- 
heads.” On  the  yellow  ground  of  the  principal 


19 


THE  METROPOLITAN  MUSEUM  OF  ART 

border,  alternating  medallions  and  lilies;  secondary 
stripes  in  shades  of  brown  and  red. 

Wool.  6 ft.  X 3 ft.  lO  in. 

53  Southern  Persia  (Kirman),  About  1500 

Field:  on  a red  ground,  close  rows  of  flowering 
plants  in  white,  yellow,  light  blue,  rose,  dark  green, 
and  blue.  Border:  on  a dark  blue  ground,  excep- 
tionally fine  design  of  interlacing  arabesques  and 
flowering  stems  in  the  colors  of  the  field  ornament  ; 
white  ground  guard  stripes. 

Wool.  8 ft.  1 1 in.  X 5 ft.  10  in.  Illustrated. 

54  Western  Asia  Minor  (So-Called  “Damascus” 

Type),  XVI  Century 

Field:  square  inclosing  an  octagon  and  a star 
with  oblong  panels  at  either  end.  Border:  alter- 
nating medallions  and  oblong  cartouches;  rosette 
guard  stripes.  Colors : deep  cherry  red,  bright  blue, 
and  yellow-green. 

Wool.  6 ft.  4 in.  X 4 ft.  6 in. 

55  Western  Asia  Minor  (So-Called  “Damascus” 

Type),  XVI  Century 

Field:  three  hexagons,  inclosing  blue  and  green 
stars  with  radiating  small  tree  motives  on  red 
ground ; triangular  fields,  blue-green  and  white. 
Border:  medallions  and  arabesques  in  white,  red, 
and  blue  on  light  blue-green  ground. 

Wool.  5 ft.  6 in.  X 3 ft.  I in.  Illustrated. 


20 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 


56  Northern  Persia,  About  1500 

Field:  on  a light  salmon-colored  ground,  pat- 
terned with  arabesques  and  rosettes  in  light  and  dark 
blue,  green,  red,  brown,  and  white,  a large  central 
sixteen-pointed  star,  handed  with  red,  with  pal- 
mettes  and  other  ornament  in  red,  white,  and  brown 
on  a bright  blue  ground;  smaller  central  star,  red 
ground.  Border:  on  a sage  green  ground,  between 
white  guard  stripes,  arabesques  and  palmettes  in 
white,  blue,  yellow,  green,  light  and  dark  red. 
Wool.  19  ft.  2 in.  X 7 ft.  10  in.  Illustrated. 


57  Western  Asia  Minor  (So-Called  “Damascus” 
Type),  XVI  Century 
Field:  on  a red  ground,  palmettes,  rosettes,  and 
long  curving  leaves,  with  small  central  medallion 
and  quadrants  in  blue,  green,  and  yellow.  Border: 
similar  motives  on  red  ground,  between  yellow 
secondary  stripes. 

Wool.  6 ft.  2 in.  X 4 ft. 


58  Asia  Minor,  XVII-XVIII  Century 

On  a red  ground,  a yellow  trellis  design  inclos- 
ing stars  with  radiating  geometric  ornament  in 
blue  and  rose.  In  the  principal  border,  a repeating 
geometric  unit  in  white,  green,  blue,  red,  lavender, 
and  other  colors  on  an  orange  ground. 

Wool.  7 ft.  5 in.  X 5 ft.  4 in. 


21 


THE  METROPOLITAN  MUSEUM  OF  ART 

59  Northern  Persia  (Tabriz?  — Herat?) , About 

1580 

Field:  on  a red  ground,  palmettes,  stems,  and 
Chinese  cloud  motives  in  white,  yellow,  orange, 
green,  light  and  dark  blue.  Border:  on  a green 
ground,  alternating  red  and  yellow  medallions  in- 
closing palmettes,  connected  by  orange  arabesques; 
white  and  orange  guard  stripes. 

Wool.  9 ft.  6 in.  X 6 ft.  4 in.  Illustrated. 

60  Western  Asia  Minor  (So-Called  “Damascus” 

Type),  XVI  Century 

Field:  on  a cherry  red  ground,  green  central 
medallion  and  light  blue  quadrants,  ornamented 
with  palmettes  and  curving  lanceolate  leaves  in 
straw  yellow,  green,  and  light  blue.  Border: 
cherry  red  ground  with  ornament  similar  to  that 
of  the  field,  between  guard  stripes  of  rosettes  on 
a green  ground. 

Wool.  5 ft.  9 in.  X 4 ft. 

61  Asia  Minor  (Bergamo),  XVII  Century 

Although  of  the  Bergamo  type,  this  rug  may  have 
come  from  Makri.  Field:  on  a red  ground,  with 
blue  corner  areas,  is  a central  star  of  light  yellow 
with  pendent,  jewel-like  motives  (lamps?)  in  yel- 
low, blue,  light  green,  red,  and  white.  Medallions, 
stars,  and  leaves  in  corner  areas.  In  the  principal 
border,  on  a yellow  ground,  are  large  medallions 
in  red,  green,  and  violet. 

Wool.  8 ft.  i in.  X 5 ft.  4 in. 


22 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

62  Northern  Persia,  About  1500 

Field:  on  a brown  ground,  patterned  with  small 
rosettes,  palmettes,  and  other  motives  in  white, 
light  red,  yellow,  and  blue,  a large  central  eight- 
pointed  star  or  medallion,  light  red  ground,  with 
pendent  cartouches  in  green  and  red.  Border: 
palmettes  and  bands  in  dark  blue,  light  blue,  yel- 
low, and  red  on  a light  red  ground.  One  end 
of  rug  restored. 

Wool.  17  ft.  5 in.  X 8 ft.  7 in.  Illustrated. 

63  India,  First  Half  of  XVII  Century 

Field : geometric  design  developed  from  two 
swastikas  inclosed  in  large  squares;  birds  and  floral 
motives.  Border:  on  a green  ground,  palmettes 
and  floral  stems.  Colors:  madder  red  and  pink, 
light  blue,  gray-green,  tan,  and  white. 

Wool.  6 ft.  X 4 ft.  2 in.  Illustrated. 

64  Southern  Persia  (Kirman),  About  1680 

Double  Prayer  Rug.  Shiraz  design,  but  Kirman 
work.  Upper  niche,  light  greenish  blue;  lower 
niche,  dark  blue;  spandrels  and  border,  brownish 
red. 

Wool.  7 ft.  7 in.  X 3 ft.  4 in.  Illustrated. 

65  Southern  Persia  (Kirman),  So-Called  “Vase 

Carpet,”  Early  XVI  Century 

Field:  on  a red  ground,  large  palmettes  in  a 
variety  of  colors,  connected  by  thin  stems  in  a sug- 
gested rhomboidal  pattern.  Two  half-vases  (cut  by 


23 


THE  METROPOLITAN  MUSEUM  OF  ART 

border)  may  be  seen.  Fine  border  of  interlacing 
arabesques  on  a dark  blue  ground. 

Wool.  12  ft.  X 7 ft.  2^  in.  Incomplete.  Illus- 
trated. 


66  Western  Asia  Minor  (So-Called  “Damascus” 
Type),  XVI  Century 

Field:  on  a red  ground,  palmettes,  rosettes,  and 
serrated  leaves  in  yellow,  green,  dark  green,  and 
white;  in  the  quadrants,  on  a dark  blue  ground, 
radiating  pinks,  tulips,  roses,  and  other  flowers  with 
“tiger  stripes” ; the  central  portion  of  the  carpet, 
now  missing,  undoubtedly  showed  a central  medal- 
. lion  with  similar  floral  design  (see  Nos.  67  and  68). 
Main  border:  design  of  Chinese  cloud  bands  and 
arabesque-like  leaves  inclosing  palmettes  and  rosettes 
in  blue,  green,  yellow,  and  white  on  a red  ground. 

Wool.  1 1 ft.  4 in.  X 9 ft.  7 in.  Illustrated. 


67  Western  Asia  Minor  (So-Called  “Damascus” 
Type),  XVI  Century 

Field:  on  a pinkish  amber  ground,  patterned  with 
palmettes,  leaves,  and  stems,  a central  medallion 
and  quadrants  with  radiating  sprays  of  hyacinths, 
tulips,  pinks,  and  roses  in  yellow,  green,  and  rose 
on  a blue  ground.  Main  border:  similar  floral 
sprays  on  a ground  of  the  same  color  as  the  field, 
alternating  with  cartouches  inclosing  arabesques  on 
a green  ground. 

Wool.  16  ft.  II  in.  X 9 ft.  7 in.  Illustrated. 

24 


LOAN  EXHIBITION  OF  ORIENTAL  RUGS 

68  Western  Asia  Minor  (So-Called  “Damascus” 

Type),  XVI  Century 

Field:  on  a claret  red  ground,  a green  and  red 
central  medallion  and  dark  blue  and  red  quadrants 
with  floral  motives  and  cloud  bands  in  yellow, 
green,  light  and  dark  blue.  Border:  between  green 
guard  bands  a scrolling  design  of  blue  clouds  with 
palmettes  and  leaves  interrupted  at  intervals  by 
dark  green  leaf-shaped  medallions  inclosing  floral 
sprays. 

Wool.  Silk  warp.  13  ft.  9 in.  x 8 ft.  Illustrated. 

69  Spain,  Late  XV-Early  XVI  Century 

Field:  on  a yellowish  rose  ground,  fourteen  large 
wreaths  in  blue-green  and  gray-green  outlined  with 
yellow,  arranged  in  a double  row.  Border:  con- 
fronted dragons  in  blue-green  outlined  with  yel- 
low, on  a gray-green  background;  guard  stripes, 
knotted  cord  design. 

Wool.  17  ft.  9 in.  X 7 ft.  10  in. 

(Exhibited  in  Gallery  J 12.) 


25 


CLASSIFICATION  BY  CATALOGUE 
NUMBERS 


Asia  Minor  Nos.  13,  19,  31,  38,  39,  42,  49,  58 

Asia  Minor,  Bergamo Nos.  25,  28,  32,  36,  61 

Asia  Minor,  Ghiordes Nos.  i,  2,  3,  4,  5,  6, 

^ 7,9,  10,  II,  12,  14,41  (?) 

Asia  Minor,  Koulah Nos.  40,  41  ( ?),  43,  44, 

45,48,50,51 

Asia  Minor,  Ladik  Nos.  18,  35,  37,  47,  52 

Asia  Minor,  Oushak Nos.  17,  21,  22,  23,  24, 

26,  27,  29,  30,  33 

Asia  Minor,  Yuruk No.  16 

Eastern  Asia  Minor  or  Armenia Nos.  15,  20, 

34,  46 

Western  Asia  Minor  (“Damascus”)  ...Nos.  54, 

55,  57,  60,  66,  67,  68 


India  No.  63 

Persia,  Northern  Nos.  56,  59,  62 

Persia,  Southern  (Kirman)  Nos.  53,  64,  65 

Spain  Nos.  8,  69 


27 


ILLUSTRATIONS 


10 


13 


1-8 


19 


20 


22 


23 


24 


26 


27 


28 


32 


% 


34 


35 


41 


50 


53 


55 


56 


59 


62 


63 


64 


66 


67 


68 


OF  THIS  CATALOGUE 

FIFTEEN  HUNDRED  COPIES  HAVE  BEEN  PRINTED 
OCTOBER,  1921 


j 


